Kevin Lole - Unoriginal Sins

THE RELATIVISM OF EMOTION HANDBOOK TO THE MODEL. 1972.

paul robertson — Fri, 03 Nov 1972 12:09:36 +0000

Coventry: s.p. (the authors and Art + Language), n.d. (1972)
30 x 21cm, 50pp (printed recto only) plus printed card covers. Xerox inner pages as issued. The first and only edition of this theoretical work based on a physical model (electro-shock, photo beams and electronic buzzers) acting as metaphor for analogue, theoretical and representative models.

Front cover has a faint brown scuff and back cover has a faint diagonal crease else and the inner xeroxed pages are somewhat VG++. From the archive of David Rushton who believes only 10 or fewer of this book was published.

Note on condition: this book has been minorly repaired - there is a new ( i.e. 2016) xeroxed cover copied from an example of the original cover and new plastic ring binder has replaced the original as the original binder had several of the plastic rings missing. We have retained the original plastic binding and can supply this as part of any purchase if desired. ALL ELSE in this copy is vintage. Priced thus.

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ART-LANGUAGE. 1970 – 1978. A CONTINUOUS RUN OF 9 NUMBERS

paul robertson — Fri, 04 Dec 1970 08:56:34 +0000

Art + Language
ART-LANGUAGE Vol. 1 Nr 1
Chipping Norton: Art & Language, February 1970
21.5 x 13.5cm, 32pp. Original card covers. First edition of this inaugural number of the important conceptual art journal with articles by Sol LeWitt, Dan Graham, Lawrence Weiner, David Bainbridge and Michael Baldwin. LeWitt's Sentences on conceptual art. Graham's Poem-Schema and Weiner's Statements had all been previously published elsewhere but being in a single journal allowed their views to be compared - LeWitt's 10th sentence is "Ideas alone can be works of art: they are in a chian of development that may eventually find other form. All ideas may not be made physical." - compare that with Weiner's more famous and more readily quoted dictum regarding the requirement that "1. an artist may construct a work 2. a work may be fabricated 3. a work need not be built. A reasonable assumption is that each being equal and consistant with the intent of an artist the decision as to condition rests within the needs of the receiver upon the occasion of receivership." A VG + to near fine copy.

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Art + Language
ART-LANGUAGE Vol. 1 Nr 2
Chipping Norton: Art & Language, February 1970
21.5 x 13.5cm, 88pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Joseph Kosuth, David Bainbridge, Frederic Barthelme, Stephen McKenna, Michael Baldwin, Ian Burn, Terry Atkinson, Harold Hurrell, Michael Thompson and Mel Ramsden. A VG + to near fine copy.

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Art + Language
ART-LANGUAGE Vol. 1 Nr 3
Chipping Norton: Art & Language, June 1970
21.5 x 13.5cm, 36pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Ramsden, Bihari, Graham Howard, Ian Burn and Roger Cutford. A VG + to near fine copy.

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Art & Language
ART-LANGUAGE Vol. 1 Nr 4
Chipping Norton: Art & Language, November 1971
21.5 x 13.5cm, 72pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Terry Atkinson, Stuart Knight, Michael Baldwin and Graham Howard. A VG + to near fine copy.

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Art & Language
ART-LANGUAGE Vol. 2 Nr 1
Chipping Norton: Art & Language, February 1972
21.5 x 13.5cm, 58pp. Original card covers. A single number from the
conceptual art journal with articles by Michael Baldwin, Ian Burn, Terry
Atkinson, David Rushton, Kevin Lole, Philip Pilkington and Graham Howard. A
VG + to near fine copy.

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Art & Language
ART-LANGUAGE Vol. 2 Nr 2
Chipping Norton: Art & Language, November 1971
21.5 x 13.5cm, 36pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Ian Burn, Mel Ramadan, Terry Atkinson, Michael Baldwin, Harold Hurrell, David Bainbridge and Victor Burgin. A VG + to near fine copy.

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Art & Language

ART-LANGUAGE Vol. 2 Nr 3 (Mis-numbered by editors as Vol 2 Nr 2)

Lemington Spa: Art & Language, September 1973

21.5 x 13.5cm, 78pp. Original card covers. A single number from the conceptual art journal with articles by Michael Baldwin, Ian Burn, David Rushton, Philip Pilkington, Michael Corris, Mel Ramsden, David Bainbridge, John F. Hemmings and Graham Howard. A VG + to near fine copy. The designers mis-numbered this particular issue and the cover has the correct number tipped on as issued.

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Art & Language
HANDBOOK(S) TO GOING ON. ART-LANGUAGE Vol. 2 Nr 4
Chipping Norton: Art & Language, June 1974
30 x 21cm, 130pp. Original card covers. First edition of this single number from the conceptual art journal with for the first time anonymous articles. A VG + to near fine copy. Very scarce.

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(Burn, Ian, Mel Ramsden and Terry Smith)
Art + Language
DRAFT FOR AN ANTI-TEXTBOOK ART-LANGUAGE Volume 3 Number 1
Leamington Spa: Art-Language Press, September 1974:
30 x 21cm, 110pp plus card wrappers. Single number of this conceptual art journal with contributions solely by Burn, Ramsden and Smith. Very minot marks to white wrappers else VG+.

PRICE IS FOR ALL - WE MAY CONSIDER BREAKING UP THIS COLLECTION - PLEASE ENQUIRE

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CONCERNING THE PARADIGM OF ART. AN ANALYTICAL ART MONOGRAPH. 1970. ONE OF ONLY 5 SIGNED AND NUMBERED COPIES .

paul robertson — Tue, 03 Nov 1970 08:56:19 +0000

Zurich: Edition Bischofberger/Analytic Art Monograph, 1970 -72
30 x 21cm, 16pp (recto only). White card covers - with offset title. A text published by Bischofberger from a theoretical document written by Kevin Lole, Philip Pilkington, David Rushton and Peter Smith (formerly Analytical Art and by this time fully regarded as members of Art & Language) which applied Thomas Kuhn's theory of paradigm shift to art (the original theory by Kuhn being a view that revolutions in scientific thought only occurred when sufficient contrary evidence to the prevailing orthodoxy had mounted up and the original hypothesis could no longer explain the physical evidence emerging from empirical studies). It is worth noting that at this time Bischofberger bought a great deal of Art + Language material from the group and published other documents by them including some of the group's rarest publications - storing many of the more three-dimensional works for later resale. Bischofberger did not print the books himself - rather Art and Language arranged design and publication in Coventry (for free using the University's resources) and David Rushton drove the books over in a camper van to Switzerland (breaking down just on the edge of the city due to running out of petrol and having little money left, Rushton coasted the last mile down hill on an empty tank).

The limitations of these series of books are usually placed at c. 200 but Rushton remembers taking far fewer than that with him and this Analytical Art book was in fact only produced in 50 copies taken to Zurich plus a few retained by the artists in the UK.

That said this is one of ONLY 5 copies which were numbered in roman numerals (this one being III/V) and signed by ALL of the four writers in pencil on the first title page.

Some aspects of the text from this book were reprinted and utilised in the famous Index Works created in late 1972 for Documenta 5 and the Haywood Exhibition. Fine.

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A GROUP OF VINTAGE MATERIAL RELATING TO LANCHESTER POLYTECHNIC’S RESPONSE TO THE STATEMENTS CONCEPTUAL ART GROUP. 1969.

paul robertson — Thu, 06 Nov 1969 09:01:05 +0000

In 1970 the three students who made up the Statements Group (later Analytical Art and eventually merged into the Art & Language Group) were in dispute with their college because they wished to submit their final degree work as a collaborative effort and wanted the college not judge the trio’s work as three separate entries. This was initially rejected but eventually the College accepted the students’ wishes and awarded them jointly 2.1 degrees accepting the work as joint. This was a major challenge to the way that art courses might be assessed (perhaps for the first time anywhere in the UK) and, for the three students - Philip Pilkington, Kevin Lole and David Rushton - the victory and an acceptance of a different art training was an conceptual art work in itself.

Here we offer some of the correspondence between the Statements Group and the College from David Rushton’s archive. Five separate documents. Namely:

Statements Group

ORIGINAL VINTAGE XEROX COPY OF THE STATEMENTS RESPONSE TO THE DAD FINE ART POLICY STATEMENT AS GIVEN TO FINE ART DEPARTMENT, LANCHESTER POLYTECHNIC, APRIL 1969

30 x 21cm, 8pp (recto only) xerox. The text outlines the Statement’s Group argument in favour of accepting conceptual art as part of the course leading to the DIP. AD. FINE ART degree. A remarkably mature and precedent document which clearly makes the case that “there should not be a dichotomy between “studio work” and “intellectual bite” (Bevaner’s phrase). We see the two as inseparable. Unless the outcome of artistic activity (which may not invariably result in the production of a visible “object”) depends on intelligent and informed decision-making, the activity frequently de-grades to a mindless activity which is antithetical or any worthwhile concept of art.” Not a great xerox copy of the original text submitted to the college but a vintage copy and a key document relating to the conceptual art motivation of the Statements Group.

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Statements Group

ORIGINAL TYPED LETTER TO THE DEPARTMENT OF FINE ART LANCHESTER POLYTECHNIC DATED 19 MARCH 1970

30 x 21cm, 1pp original typed letter on “Statements” headed notepaper. The text reads: “Dear sir, The publication of “Statements” is a student project./Editorial responsibility rests entirely with the student group involved./This magazine is being distributed with a view to producing feedback; therefore, any co-operation in the form of comment or criticism on individual articles or the magazine as a whole will be greatly appreciated. It is hoped that subsequent issues might related to points arising from any correspondence./Yours faithfully Kevin Lole, Philip Pilkington, David Rushson.” This letter was submitted by the group to the Faculty as the opening salvo in the campaign for the College to recognise the Statements magazine as part of the three students' course work. Fine condition.

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ORIGINAL TYPED LETTER FROM DEPARTMENT OF FINE ART LANCHESTER POLYTECHNIC OUTLINING THEIR POSITION ON THE CONTENT OF DIP. AD. FINE ART COURSE (NO DATE BUT 1971)

30 x 21cm, 1pp original typed letter on plain paper outlining the College’s lack of formal clarification of the format of the courses that the Statements Group were following. The letter notes the lack of clarity from NCDAD (the verifying education body) about the role of theoretical work in the course and “clarifies” that “(they) think it would be unreasonable for students to spend more than the equivalent of four terms of their Chief Study on theoretical work; if appropriate, this might be distributed throughout the three years of the course.”. This letter was essentially opposing the idea that the students might create works that were conceptual in content for more than 4 terms in a three year course. Fine but folded for delivery.

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Original hand addressed envelope to D Rushton/P Pilkington 3rd Year Fine Art.

XEROX COPY OF THE NATIONAL COUNCIL FOR DIPLOMAS IN ART AND DESIGN JUDGEMENT ON THE PROGRAMME OF STUDY IN THE FINAL ART DEPARTMENT, LANCHESTER POLYTECHNIC 29 JULY 1971

Coventry: Lanchester Polytechnic, 1971 3

0 x 21cm, 1pp. Vintage xerox with hand underlinings. The letter given in reply to the Statements Group which outlines the verifying body NCDAD’s position on the balance between “studio work” - by which the body meant object making or painting - and the more conceptual activities of the Statement Group. The letter notes (and is underlined by an unknown hand) that “the Visiting Board,… , (were concerned about) the lack of balance in the proposed modifications to the programme of study in the Fine Art area, and a note of caution was added with a view to avoiding what could be a distortion of emphasis in the programme.” And also: “There is no doubt whatever that the Board and Council used the term “studio work” in its commonly accepted meaning, that is to say the production of tangible art objects…. (and the college should see) Painting and Sculpture as Chief Studies.” The whole is signed EE Pullee Chief Officer of NCDAD. Slight marks and dog-ears. This letter was essentially an official refusal to accept the Statements Groups argument in favour of a much greater amount of conceptual discussion as part of the Fine Art course. This letter was given to David Rushton as part of the College’s response to the three students' request to be judged on their collective conceptual artwork.

ORIGINAL MIMEOGRAPHED LETTER RELATING TO THE USE OF FILM IN THE FINE ART DEPARTMENT LANCHESTER POLYTECHNIC (NO DATE - C. DECEMBER 1971) 30 x 21cm, 1pp. Mimeograph. An official letter from the College authorities on one hand refusing the student’s request for a continuation of “film making” within the Department of Fine Art but offering some future compromises. The letter says that the current level of film-making is “both impracticable and wasteful of time and money”, that it could only be successful if a “special course and ….. department were instituted”, but agreeing to “a special section for film-making could be set up within the department and small cine clips could be made as an extension of the student’s work” and a proposal to employ in the future a staff member to carry out such teaching. This was a minor victory by the Statements Group and others as part of their campaign to widen the scope of the Fine Art Degree away from simply painting and sculpture. Five documents (which are sadly not comprehensive of the entire debate) which shine a light on the struggle of the three participants in Statements to create a space for conceptual art as part of the curriculum of their Art College. An interesting set of documents.

PRICE IS FOR THE GROUP AS A WHOLE

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